It could be argued
that in the medium of chamber music,
the combination of piano, violin and
cello has been second only to the string
quartet in inspiring great composers
to give of their best. Think of the
wonderful piano trios from
Haydn, Mozart, Beethoven, Schubert,
Schumann, Brahms, Dvořák, Smetana,
Tchaikovsky, Shostakovich, Ravel - the
list is long. Certainly Mendelssohn
understood the importance of the piano
trio to the great classical masters,
and his own two pay tribute to
that, as well as being inspired creations
in their own right.

The catalogue is not
exactly bulging with one-disc versions
of the two trios, so this disc from
Trio Parnassus, part of their ongoing
trawl through the great trio repertoire
(as well as some less well known examples)
is to be welcomed. Both these pieces
are relatively mature, and are replete
with Mendelssohnian thumbprints, from
propulsive, bright allegros to cheeky,
impish scherzos and hauntingly lyrical
andantes. The piano does tend to dominate,
particularly in the first work (Op.
49), though this is to be expected from
a composer who was such a piano virtuoso.
The form is better balanced in the C
minor, a superb piece that shows his
developing maturity.

That this trio has
performed together over time is evident
at every turn. The glorious melody that
unfolds in the first movement of the
D minor shows an excellent tonal blend
and pointing of detail. The way the
lead-in to the second subject (track
1,1’44) is gauged shows this fine, intuitive
musicianship. Both scherzos are feather-light
in their delicacy, the D minor’s particularly
showing a finely-tuned grace (plus a
link with the famous Midsummer Night’s
Dream Overture) that is a delight.
The two andantes show us the composer’s
enviable melodic gift at its best, something
not lost on these players. Both finales
are strong on forward momentum and intensity
(both indeed marked allegro appassionato)
and the excitement whipped up here is
palpable.

A definite hit then.
My only real concern is with the recording.
Despite MDG’s claims about the ‘greatest
possible naturalness and vividness’,
I found the piano sound just a shade
too recessed in relation to the other
instruments. It may be to do with microphone
placement, but the violin and cello
seemed to have a clearer, more pleasingly
forward focus that dominated the piano
somewhat. I also suspect that the grand
needed the attention of a tuner part
way through the proceedings, especially
in the upper register. But none of this
spoils the enjoyment of lovely music
in lovely performances.

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